I have a confession to make. I have only seen one – count ’em! – Studio Ghibli film. It’s the one everyone has seen (no, not that one with the friendly cat Moomin, the other one with the pigs). And I liked it! Well, it scared me a little but that’s not necessarily a bad thing and I really enjoyed it. I would absolutely watch more. I will. I just… haven’t yet. Continue reading →
It’s not every day you have to say “no” to meeting Ava DuVernay.
Having a full-time day job means I do have to decline quite a few of the invitations I get, but this one really hurt. And I was honestly really excited about seeing the film. Luckily, I had the perfect stand-in up my sleeve: web series whizz, producer, actor and writer Rochelle Dancel, who attended a roundtable with Ava and A Wrinkle in Time’s lead actress, 14yo Storm Reid. Continue reading →
Some of us are born Julies.
The story isn’t often about us – and when it is, or at least when we get a chunk of the story, it’s usually not a Julie telling it and then they get it all wrong.
(Contains spoilers if you haven’t yet seen Lady Bird. Though you should get on with it now.) Continue reading →
It’s taken me weeks of thinking about The Florida Project to even consider trying to write this in four minutes. But if I gave myself longer, I might never stop.
Named after the code for what would become Walt Disney World, The Florida Project takes place in the shadow of Cinderella Castle, centering on a young mother and daughter living a transient motel room life worlds apart from the glossy, expensive vacation kingdom up the road. Continue reading →
I’ll dollop on marmalade analogy early: this film is deliciously sweet, but with a gently tart edge, and if there were a cinematic equivalent of comfort food this would be it. But it would be unreasonably twee to spread it on too thick, given this is a film that wears charm on its sleeve, but never becomes sickly. Continue reading →
These are good times for comedy. Giving the most maverick wing of the MCU outside Guardians of the Galaxy – this one ripe for resurgence following a shaky sequel – to a reliably off-the-wall comedy genius managed to be both a brave and low-risk move from Marvel; fortunately, Taika Waititi doesn’t disappoint.
In his first work to involve massive budgets and existing characters, he effortlessly pins his intimate, wise-cracking style on the overblown, operatic drama of the Thor franchise. Continue reading →
Featuring: The Meyerowitz Stories; Battle of the Sexes; Call Me By Your Name; The Shape of Water
I’m taking a different approach to my festival filmgoing this year – a round-up rather than a post for each. I’m sure SEO experts will be shaking their heads and I’m certainly not winning on frequency or volume of content, but I’m hoping this will mean a distillation of quality – more useful stuff, delivered more efficiently, with less waffling.
She says, waffling. Continue reading →
A few weekends ago saw my first visit to the BFI & Radio Times TV Festival – and that’s hardly a surprise, because it’s a brand new festival.
It was, in all, a really fun day. We had only two events booked. The first was a panel / Q&A with four editors from the Radio Times – which, I admit, I’ve only bought at Christmas for years now, though I do keep a weather eye on the Facebook page / website and I have now signed up for a subscription out of curiosity – about the experience of writing about television. The other was a panel about Netflix sensation The Crown, with Suzanne Mackie, Philip Martin and the glorious Claire Foy (the last of whom I managed to walk straight past in the ladies without really registering this until I’d swept past, gone in the cubicle and was mid-pee, at which point my brain kicked in – that’s pre-occupation for you). Continue reading →
It doesn’t feel an overstatement to suggest that Howard Ashman was absolutely key in transforming the lumbering beast that Walt Disney Animation had started to resemble in the mid-80s into the fleet-of-foot animation royalty that dominated the 90s and heralded an era of musical hit after musical hit. He did it through the gift of song – his artistic vision and a lyricist’s pen dripping with inspiration that was at its most passionately effective in partnership with his long term creative collaborator, Disney Legend Alan Menken. The 14th of March marks the 26th anniversary of his sadly premature loss, so it seems a fitting moment to return to some of his very finest work with the company as Disney indulges in its latest project to reinvent its back catalogue into live action for fun and profit.
If Bill Condon (Twilight: Breaking Dawn 1 & 2, Mr Holmes) attempts to tighten up the more dated elements of the tale as old as time by developing its independent and intelligent heroine’s back story, there’s no need to lift a finger to invigorate the music: it’s aged perfectly. The sole bum note is the Beast’s new number, a rather pedestrian lament penned by Sir Tim Rice (who also completed Ashman’s work on Aladdin) – though it’s good to see the cursed Prince get his due with a bit more character development. Downton Abbey’s Dan Stevens brings a note of gruff sarcasm to his performance which is warm and welcome; he’s also provided with hints of a more complex story than simply ‘petulant child’, and this helps with what has always been a tough sell of a romance – even more challenging with live action characters and hard-working CGI and prosthetics than it is with animated protagonists.
The supporting cast is stalwart and solid; Ian McKellen’s Cogsworth is reliably…McKellian. Ewan McGregor can safely be counted on to belt out a rousing tune; his Lumiere’s Be Our Guest might lack the tongue-in-cheek suaveness of the sorely missed Jerry Orbach but taken as its own performance is still a Busby Berkeley extravaganza in which the running joke of Belle failing to actually get to eat anything remains. Audra MacDonald’s Mme Garderobe gets a fuller role and injects necessary notes of both pathos and jollity as a result of her continuing love affair with harpsichord husband Mastro Cadenza- a newly-created character and gleeful cameo from Stanley Tucci and his spectacular dentures. The challenges here are largely of realisation rather than performance; where Cogsworth and the Maestro’s household objects lend themselves to mimicking facial expressions, Lumiere’s tiny face, Mrs Potts’ flat surface and the wardrobe’s unnerving facelessness are at times slightly unnerving. While this doesn’t prevent national treasure Emma Thompson from being bumblingly charming and pretty much pulling off that crucial titular ballad, she’s one of the few characters that is preferable in her briefly-observed human form.
But what of Belle herself? Emma Watson’s is a very cool and reserved take on one of Disney’s more fearless heroines. In many ways she’s a more realistic introvert, and there are some touching moments, such as a small bubbling up of glee at being given the library to explore and in the richer relationship with the delightful Kevin Kline’s Einsteinian Maurice. Still, this interpretation leaves some of the high drama sadly lacking; for one, her Fraulein Maria hilltop moment is oddly muted. It perhaps doesn’t help that Watson is well nigh steamrollered by an absolute barnstormer of a performance from Luke Evans on full-bodied form as Gaston, rolling effortlessly from high camp to cartoonish villainy with a genuine note of unhinged violence. Where Be Our Guest and Beauty and the Beast should dominate the score, it’s actually tub-thumping tavern jig Gaston and menacing rabble-rouser Kill the Beast that lead the way as the film’s most engaging musical moments. There’s been much press coverage of Josh Gad’s Le Fou being the first obviously gay Disney character, though this is rather more disappointingly blink-and-you’ll-miss-it than advertised; still, he’s an able enough foil for his puffed-up partner in crime, even if his conflicted moments are a little lacklustre.
Condon’s Beauty and the Beast is a beauty but a funny film; just a touch too paint-by-numbers to attain the high standards set by Jon Favreau’s lavish and loveable take on The Jungle Book and certainly not about to replace the near-perfect Ashman swansong from which it took its cue. But it’s an affectionately crafted and solidly enjoyable family night out; the lights of its most stirring numbers remain undimmed and that wickedly effective Gaston is possibly even an improvement on the source material. If, being honest, it wouldn’t be included in the bookshelves of the mind where my most prized treasures rest together, I wouldn’t refuse to include it in the library.
Beauty and the Beast is on UK general release from Friday March 17th. Many thanks to @disney_uk for two press preview tickets. All opinions my own; more blog-based movie reviews here; even more film stuff on my Letterboxd profile.
I’ve been sick, on and off, for a month. What started out as simply the world’s most disgusting head cold has ambled on as a strength-sapping virus-chest-infection combo. I’ve been working pretty much throughout (thank God I have an employer that is set up to support working from home) but this week the ongoing lurgy cost me a business trip. Things are… irritating. And that’s where tea comes in.
Tea. So much tea. You guys know I love tea, right? And write about my tea love. And you know that I visited Piacha in Islington and loved that too, and then Pia sent me a lovely email saying ‘hey, wanna try our tea subscription service?’ and basically this is the best possible way I can think of to deal with feeling so utterly grotty.
The way it works is that you pick a tea from the website as usual. Then you choose the subscription option instead of a one-off purchase. You’re asked to choose a delivery interval: 1, 2, 3 or 4 weeks. You set up payment. Then, on schedule, a foil sachet of tea arrives through your door. That’s it.
Being an absolute gem, Pia let me try my first delivery free. I opted for the Shui Xian oolong I tried in our tasting as it’s a lovely rich, nutty, black oolong. There was no question I was ending the subscription there – I’ve now drunk my way through two deliveries of Shui Xian in a bid to sort out my raw throat. I then fancied a change so I have switched the most recent delivery to 40g of beautiful pine needles white tea which is incredibly delicate and fragrant. Cake is now a very occasional treat for me, but my shelf of tea canisters sees me through each day in which I’m apt to drink anything from 2 to 12 cups of teas of varying colour, flavour and caffeine content. My tea shelf is packed with gems from my favourite tea shops (and one weird Disney World Alice in Wonderland weird strawberry flavoured weird tea). Knowing I’ve got a regular delivery coming from one of my most trusted sources is not only reassuring in terms of keeping my tins topped up, but being able to switch around my options means that my tea promiscuity is well catered for – I can be getting hot and heavy with one blend while flirting unsubtly with another.
The small print, as it turns out, is as uncomplicated as the principle. Price varies per tea though all have free UK delivery (with EU and international options) – plus it’s 10% cheaper than buying one off. The cheapest by volume is £5.31 for 75g of loose leaf English Breakfast and the most expensive is £10.62 for a generous 75g bag of Iron Goddess of Mercy Oolong – with most at the lower end of the scale. My current delivery is just £4.95 per sachet (albeit a 40g pack). Plus of course many loose leaf teas, including oolong, can stand up to multiple brewings. You can log in and change tea type and delivery interval, or skip deliveries, at any point. I know I’ll be away at Christmas, so have already arranged to skip the relevant deliveries.
One tip from me: if you are going to go for it, then do make one further investment if you haven’t already – tea tins. Piacha teas come in lovely foil sealed packs which preserve freshness, but once you’ve torn a pack open, you’ll want to transfer the contents into an airtight tin to keep them smelling and tasting perfect. Should you be able to resist inhaling it all, tea can stay in decent nick in a tin for up to two years.
In a long, frustrating, exhausting month that culminated in the GP announcing “you don’t look well” before I even described the problem (me: “…”) it’s been a massive source of comfort to have black tea and dark chocolate to hand at all times. I’ve always believed in treating myself, but as tempted as I’ve desperately been to sign up to all manner of beauty boxes and nerd subscriptions, I’ve resisted it due to worries that I wouldn’t really want everything I was getting, or it wouldn’t be fair to have a regular delivery that was just for me. But tea… tea I’d definitely drink. And it’s tea I’ve chosen myself, and want to drink. And I can share it with other people! It’s useful. And delicious. And one of my favourite things in the world. Self-justification made easy, my friends.
And with that, I raise my mug to you and hope that the next time you see a post from me it will be with a clean bill of health. I can guarantee there’ll be a fresh cuppa, too.
Disclosure: The lovely Pia of Piacha kicked off my subscription with one entirely free delivery for review, but all deliveries since then have been paid for by me. All thoughts, opinions and words are my own; the pics are courtesy of Piacha.